It is a little confusing using both the 5 and #5 in this chord.Voiced down from the top note C in close position it's a Cmaj7which makes more sense, though he names it from the bass(E)An inversion of modal tonic 1 chords !! (from the 59 edition)

I haven't explored the use of this chord much yet, but now it occurs to me that the backing machine I use for practice doesn't even offer it. But since it does support slash chords I'm going to try a C sus4 / A... It should be the same thing. Perhpas it would be ok to think of this chord as a Vsus4 / III in the Lydian universe...?

ML, could you please explain a bit more what you meant by stressing the importance of this chord? Is it interchangeable with the rest of Lydian chords in the same way, or is it special/different in some way?

and come to realize certain things... When you start stacking fifths above a Tonic, as soon as you've included 4 fifths above it, you've got the material to build a m7+5 chord (on the III degree with regards to the starting Tonic / LC Scale). Actually it's the first of 'common' chords that can be built on that degree. Also, of note is that the m7+5 is 'given birth' by the order of tonal gravity at the same moment (when you've included the fourth fifth above the Tonic) as the m7 chord (though this twin-sister/brother - m7 has it's root on the VIth degree). You need yet one more fifth above the Tonic to be able to construct a m, m7, 7sus4 or sus4 on the IIIrd degree. Maybe that explains why it makes sense to relate the III degree to m7+5 chord sooner than to some other chords. Also, it perhaps shows that m+5 is not some kind of a artificial intruder, but one of primary chords of equall dignity as Maj or m7. What a silly omission to have been ignoring this chord... A withdraw my earlier proposition to call this chord Vsus4 / III, it deserves to be used and called princpially as m+5 just like the man said.

AuxDim should be: I II bIII IV +IV +V VI VIISo, and F AuxDim: F G Ab Bb B C# D EI don't see how a -7#5 can sit on it's VI degree,as it would need to be composed as: D F A#/Bb Cso we are missing the C (V) in the AuxDim...

I've been a fan of the Minor 7 #5 sound for years, probably from listening to so much Steely Dan growing up

Matoi nailed it when he said "When you start stacking fifths above a Tonic, as soon as you've included 4 fifths above it, you've got the material to build a m7+5 chord (on the III degree)"

Motherlode REALLY nailed it with "realize that the MELODY is infinitely more important than the chord"

I used to view this chord family as a 'rarity' (more of an 'altered minor' than anything), but with LCC I came to embrace it as a HUGELY important color, and one of my favorite tools to use harmonically. I did a reharm of the Beatles' "Yesterday" a while back using a bunch of Min 7 #5 sounds, and it's amazing - mostly because the melody is so strong, but also because the flavor of this particular chord is so harmonically flexible. Certainly an avenue worth persuing if you haven't already!